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Translating Romantic Sensibility:Narsinhrao Divetiya’s Poetry 279kindly light” has elegance (“madhurata”) which Kant’s translation ofthe same lacks. Further, Mansukhlal Jhaveri, referring toKusummala , notes that inspiration from life may be better thanderivative inspiration in the context of translation in aesthetic terms,but in historical terms such translated versions have their ownsignificance-modern Gujarati poetry was born with Narmad, but it“grew up and blossomed “only with Narsinhrao (ibid: 297). Theromantic strain in Gujarati poetry, carried forward later byBalashankar Kanthariya, Nhanalal, Kalapi or Ravaji Patel wasfostered in the context of assimilating the other and self-definition,in the context of translation.Narsinhrao Divetiya’a lifelong association with the act oftranslation made available a Gujarati version of the British romanticlyric, its cognate sensibility and taste. It is also reflected on theprocess of translation and realized its mercurial status. SujitMukherjee rightly observes:Quite significantly, we don’t have a word in any Indianlanguage that would be the equivalent of the term‘translation.’ We borrowed anuvad from Sanskrit (whereit means ‘speaking after’) and tarjuma from Arabic(where it is nearer to ‘explicate’ or ‘paraphrase’). Morerecent borrowings are rupantar (in Bangla) or vivartanam(in Malayalam) or bhashantar (in Hindi). That we don’thave a widely accepted Indian word for ‘translation’suggests that the concept itself was not familiar to us.Instead, when we admired a literary text in one language,we used it as a take-off point and composed a similar textin another language. P. Lal’s use of the term‘transcreation’ may well be most appropriate for such asituation—more so, now that the Advanced LearnersDictionary has sanctified it.(Mukherjee 2004:45, his italics)